The Official How to Draw Robotech 03

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- o r o ac y. A monthly m anualdevoted to leaching how to Iearn to draw the ROBOTECH' IM animated cartoon characters and fighting craft in an intelligent and easy to understand way. Each

issue will cover one or more characters or devices from each of the lhree major storylines lhat m ake up the RO BO TECHRM saga. Each storyline willbe featured in rotation. Issues 1 through 4 willfocus on the M A CRO SS characters, issues 5 lhrough 9 willcoverthe SO UTHERN C ROSS characters and issues 10 through 12 will cover the NEW G ENERATIO N characters. Issues 13 through 24 w ill repeat the rotation exam ining new m aterial from each storyline.

W RITTEN AND COMPILED BY DAVID CODY W EISS

R O Y FO K K ER

ARTW ORK BY HARMO NY GOLD U.s.A.,INC

LISA H A YES

R a n k : Lieutenant C om m ander R a n k : Lieute nant C om m ander A ge:30 A ge :24 Friend and menlor lo Rlck Hu nter Roy was the former com mander of the fam ed Sku11 Squadro n that fought during the civil wars that preceded the invasion of Earth. Prior to hi s m ilitary career he had been an air circus stunt pilot. It w as during this time that he befriended the younger pilot. Very m uch the im age of the brave young hero, Roy is an inspiration to his crew and to 1he other men in his com mand. His death in battle bri ngs home the grim realitfes of !he war, and for Rick provides a m odel to pattern himself after in his growlh lo m anhood.

The daughter of A d m Ira I H a ye s of the Ea rth D efen se Fo rç es , Lisa chose the Space Co rps as her service branch in order to be closer to her fiance, KarlR Iber, who was stationed on M a rs B ase sa ra . After the arrival of the SD F-1 and its subsequent salvage and refi tting, she is assi gned the post of First Offi cer of 1he ship. After the ship is tfansported out beyond the orbit of Pluto during the Space Fold m aneuver, she finds out that the Zentraed I have destroyed 1he Martian base. In reaction lo her fiance's death she becom es a hyper-effici ent officer with a repulation as a *cold fish,* especially in Rlck Hunter's eyes. Eventually, however, she fall s in Iove with Rick and conlinues a rocky rom ance w i th him throughout the slory.

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W elcome to the thifd issue of T H E O F F IC IA L H O W T O D R A W RO BO TEC HTM series, a monthly book designed to teach fans of the enormously popular RO BO TEC HTM animated television series how to draw alltheir favorite characlers and mecha. Each month we willdemonstrate how to draw one or tw o characters from the show in the first half of lhe book, and highlight how to draw some of the fantastic transforming fighting craft or M echa,in the second half. Unlike som e other how -to-draw books on the stands w hich offer only a bland

step-by-step *copy-me' approach, we w ill dem onstrate how to actually co n stru ct a draw ing, the way professionalanists do. By showing the ruIes and the thInkIng that go into each drawing, we hope that you will

I earn more than justhow to copy a face or a pose that is already in front of you. You willlearn how to draw these characters and craft in any pose or angle you can imagine.

Remem ber, ANYBO DY ean Iearn 1. pd ra w 1 . If you s tu d y the ruIes, o bserve carefully how something is draw n, and m ost im portant of all, practIce constantly, you will Iearn to draw ! YO U LEARN TO DRAW BY DRAW ING !

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S PEC IA L A NNO U NC EM ENT !! W E W ANT YOUR LETTERS AND DRAW ING S! W e want to hear from you and see how you are doing! Send us l etters telling us w hat you like or don't like about what wepre doing w i th THE O FFICIAL HO W .TO .D RAW .RO BOTECH series. Not only that, but in each issue w edll prinl som e of the best of yo ur draw ings ofthe RO BO TECH characters you send us. So start writing and drawing TO DA Y!

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Each drawing is constructed from baslc shapes and arranged accordinq to relationships call ed proportlons. Every partof a figure is psaced by m easurîng its height orwidlh as compared with the otherparts. In figure drawing, the basic unilofm easurem enlis the H EA D. The ùead is construoted from an ovalor egg-shape. Lines di viding the surface of the shape into halves mark 1he places where oyes,ears,noses, mowths and other features are Iocated. Alw ays rem em ber

thatyou are describing a solid curved surface,so Iines w rap around the basic shape and rurve when 1he shape is tilted or turned.

The body i s m easured in head-helqhts.

This m ale figure is 7 1/2 heads tall (you don' tcountthe halr). The legs attach to the hips atthe halfway mark. M ost other landmafks on the figure are calculated by dividing the height inlo thlrds, halves or quarters and noting what body pac falls close to one ofthese Iines. Pay close attenlion to how long the arms

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anö le9s are,and where the joints are located. These relationships remain the same no matlerw hatposilion the body is in. o

Try to anal yze each pose in stlck-fIgure to rm first. This i s 1he easiest way of establishing a strong foundation upon which to construct a lively, accprate draw ing.

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tT f i c b h w T t r n a o g e l m s u h r , I f o d t l e a h m . c ' i s n t D d k h e m l o i L v c a g Y h t f d e i N . n o u r , t g b s k e 8 m w M a n 0 h i d t b I e l s y N f u . M t h o i , g e n r c E s T u I h i , e o n t s p l c m h r 1 n a f o e / t p 3 m l e y n 1 d q o h a / 7 c f p i u 3 I e k t n m s h r o f p u i e l a g d s c r k . t o e f ,

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Iocating the navel. Notice thatthe distance from 1he crotch to the bottom of1he chin is also equalto 1/3 ofthe totalhei ght.

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lfyou' ve read issues 1 and 2 ofThe OffIrlal How To Draw ROBOTECH TM, you should i)e familiar with the methods of how to construct heads and figures from modelsheets. lf not go back and review both issues, as wellas the section in this issue on BasIcs. From this i ssue on,we#ll be giving you m odelaheets for each of the highlighted characters and

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I some reference poses ofthe majorcharacters ofeach ofthe Robotech seri es, bu! the rest ofeach issue willconcentrate on Iessons in the techni que of draw lng these characters. So here are the models forRoy Fokker and Llsa Hayes foryou to base yourown drawings on , practicing 1he skills and techniques you've been I earning.

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Remember, professional artists who work for the anim ation studi os are given only m odel sheets Iike these when they start to draw for a show Iike Robotech. They use these to I earn the Iikeness and details of the characters but m ustconslructand com pose fi gures according

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to theirown knowl edge and skills alùne.

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This seri es of inslructionalcomic books was developed lo teach fans of the Robotech anim aled TV show how to draw their favorite characlers and Mecha. To do lhis we decided that the best approach would be to present a program of lessons that would

primarily teach how to draw, with the subjeot of that drawing being somewhat secondary. Having given a basic introduction to the characters and their construction in the firsttwo issues, i ti s necessary now to take a bitofa detour before returning to the speoi ficall y *ldow to draw Roboteoh charactersw program . The following.m aterial m ay

sound a bittechnical,but read i t through (a couple oftimes,ifnecessary),and you will understand w hat you are drawing m uch better. The Robotech show owes its popui ari ty in pad to 1he appealing design of its characters

and seltings (this includes the depicti on ofhardware and Mecha),but mostl y to the facl thatlhese desi gns m ove. In Iearning to draw lhese things you m ustbe aware of1he different methods involved in producing anlm ated characters and wflar com ic-book styl e versions of the same characters. On the TV screen w hat you see i s a series of singl e drawings, each a Ii ttle different

than the one before projecled at lhe rate of 24 frames per second. Now lhese pictures move so fastthat youreye and brain cannot record each individualdrawing as a separate im age,but enough of an impression is made that when the nextdrawing appears the eye registers the shlft between the two. Look at the drawings below and

fl ick your eyes back and forth from #1 to $72 to #3 to #4,very quickl y.

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Now you see thatw hat is interpreted as motion on 1he TV screen is accom plished by a careful observatlon of what a character looks Iike while doing something, lhen 1he recordlng oflhat observati on as a serlee of carefuldrawings showing each step of that movement. There are m any m ore rules and techniques to producing good animation butwe're prim aril y interested in single drawings here. lf you're interested in exploring animation further, we recom mend you look at Anlm atlon and How to A nlm ate Fllm

Cartoons by Preston Blair(see tho Reçommended Readlng 1.1ston p.28). W hether you're interested in doing pin-ups or comic books or animation the first step is

stillthe same--you have to do one slngledrawlng atatlme. Ourjob isto hel p you Iearn to do thal draw ing to the best of your ability. So l ers altack the most basic basics of drawing: The first part of any figure drawing is the establishment of a gestu re draw lng . A

gesture drawing i s a description or nolali on ofa figure in the simpl eslpossible form. Observe a figure (or visualize one if you are not using a model) then rough-in 1he circle and m i lten shapes you Iearned to see i n the first lwo issues. The basic form upon which to anchor your gestu re draw lng is 1he actlo n Ilne. An actIon 11ne is the simpl esl way of describing the feeling of m otlon or balance of a fi gure.

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Here are a variety offi gures foryou to study and analyze. Each figure is accompanied by a gesture d raw lng with the aclIon llne indi cated. Pay close attenti on to the relationshi p ofthe actlon Ilne lo two imaginary Iines: a horlzontal line representing the ground and a ved lcal Iine represenling gravity. Noti ce thatthe vedi calIines we show running through 1he figures do notfallin the same place in each fi gure. That' s because the verlicalli nes shown representwhat is called the eenterofgravlty. The lenterofgravlty shows where the w elght of the figure falls. W e'II lalk m ore about lhis in a later section, butf ornow,justobserve it and see if you can see it in other figures.

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ln presenting a sequence of movemen! i n anim ali on an anim ation arlisl has the Iuxury of showing you, the vi ewer how the molion progresses from start to finish. The *sti ll- or illuslralive, arli st works in a much more lim ited frame. Since you,as the artist can onl y present one drawing at a tim e, you need to take a specialapproach to depicling m oti on. Each sequence ofmotioncanbe anal yzed and broken downinto lhe equivalenlofa setof*freeze-frame* shots. O fthese shots. mostfal l into a category we can call wtransition@ poses or, as lhey are called in 1he anim ation field, *1n-

betweens.l W hatthey are 'in-between* are poses called extremes (or *key poses*).

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A classicexampleoftherelationshipofextremestoin-betweensisshownbelow inlhis W

drawingofaballswingingonastring.

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IN-BETW EENS Below is an illuslration of a gesture-drawlng character lhrowing an objecl. Here you can see the same relationship between the extreme poses and 1he in-be- een poses.

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Every time you sit down to do a drawing of a character you have to m ake a series of decisions. FIrst--w ho you are going to draw. This i s the easiest decision lo make. ln facl you probabl y made itbefore you satdown to draw. Seco nd--w hat this character is going to be doing in your drawing. The simplest

solulion lo thi s is to draw a kind ofmodel-sheetor *just-standing-there*pose. This i s fi ne, but it gets kind of dullafter a whil e and ofcourse i ti sn' t very good for aclion or adventure stprytelling. So,I ers say you choose an action pose--someone being knocked

overby a movinq obiect.

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X Inpose1,lheobject(lel'scallitaball)hasn'tye1madeconlactwi thyourchamcter, Il1 who we#llcallJesa (shortforGesture,you r.ee). In pose 7,Jess is already hitting X

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1he ground, the action almost over. So ri ght away you can tellthal these two poses

don'ttellthe story foryou.

Poses 2 through6 show the action aclually happening,from impactlo totalI oss of

IlI bal ance. Pose 2, however,doesn'! show a 1otof reaction on Jess'part,and pose 6 doesn' t clearly show that 1he ball is responsi bl e for Jess'fall.

Thlrd-- you now have lo decide w hlçh pose bestshows yourviewerthe mostyou can

tellaboutthi s action. Somehow,in one drawing,you have to show an objecl hilling your charaoter, hitting w ith enough force to knock him/her off balance and your character reacling by falling down. Doesn' t sound easy,does it? Below is 1he action sequence you have chosen lo do, Iaid out in seven Nreeze-fram e* gesture-style drawings. You could actually draw an infinite number of drawings to describe this same sequence, depending on how sm all an intefvalof time you chose to setbetween *freeze-frames.? So in one sense,lhese afe already a setofextrem es

ofthe action,butourjob now i s to choose whi ch one oflhese drawi ngs bestrepresents the pose we wanlto finish up as ourfinaldrawing.

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M Now we're I eftwith poses 3,4 and5. Pose3 isan interesting pose; i tshowsthe < impactofthe ball,and Jess isshown off-balance,starting tofall. Pose 4 isalsovery X interesting; the balli s shown hitling Jess'chest,1he balllooks slightly squashed, m indicating strong im pact, and Jess is clearl y toppling over. Pose 5 is a Ii ttle Iess

interesting;the ballisrounder,losing itsfeelingofimpact,and Jessefeetno I onger Z touch the ground,I eaving him suspended in mid-airwithoutthatteeteri ng effecllhat lM clearly indioates a helpless fall. So,by analysis and process ofelimination,itis (D apparentthat11w bestpose to tellthe most ofthe story is pose 4.

Continuing with our exam inalion of how to podray characters in m otion, we m ust now touch upon a topic called Body Language. Much more willbe said aboutthis in a Ialer secti on,butrightnow w eelldefine what itis and how we can use i l to create the illusion ofmolion in a single,flat drawing.

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Quite simply, body language is a term that describes how we inlerpret 1he facial expressi on and body position orposture ofthe person orcreature we are observing. lt

i s how we recognize just1he silhouette of an altacking hawk as threatenlng,orthat of a cowering dog as defeated, or,m ore to our im mediate point, the Iast silhouette show n below as a m an runnlng.

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By obsew ing the body Ianguage of ourfri end Jess in pose 4 back on page 15,we interpret an arrangementofvery simple Iines as a representation of a hum an being aboutto falloverbackward. Ifyou Iook up from this page yotlwon' tsee anybody you know lhat Iooks even remolely like Jess yet when you Iook at his slick-and-ballimage on the pap/r your mind im mediately recognizes the si tuation. If you have an active imagination you m ight even be able to feelthe te/lering position thatJess is in. AlI this is accomplished by accurately representing the body language ofa person falli ng. n i s is partof lhe process you use in fecognizing which extreme ofa motion sequence to choose to best tellyour story in one fram e. Now exam i ne the illustrati ons below of a

Verlteçh Flghterin Battlold and GuardIan Modes (covered in modelsheets and lransform ations Iater in thi s issue on pages 20-27.

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Now Iook at the gesture drawing analysis of the same poses on this page. Because the Battlold and G uardI@n Modes resem ble hum an structure, we interpret lheir body Ianguage the same way we would a hum an' s. This is your key to drawing these types of combat Mecha convinGingl y. Ifyou Iay out yourgesture drawings of lhese Verlteçh Flghter modes or 1he SDF-I in its sim ilar mode as human-style poses and then start to describe lhem as machines you wiltproduce much stronger, more convincing final drawings.

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